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Middle English popular romances has been characterised by a thinly – if at all – veiled repugnance to the romances themselves, not only to their poetic form but their subject matter and the medieval audience who is imagined to enjoy them. As Arthur Johnston has demonstrated, it is in the middle of the eighteenth century, with the publication of the first modern editions, that the study of Middle English romance is born; more recent analysis by John Ganim, Nick Groom and David Matthews has exposed the ideologies latent in much of that early work and I build on their

in Pulp fictions of medieval England